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The Age of Leonardo and Michelangelo
The Age of Leonardo and Michelangelo
Ministero dell’Istruzione, dell’Università e della Ricerca - Ufficio Scolastico Regionale per la Sicilia
Corso di formazione docenti all’insegnamento CLIL
Modulo C - Sperimentazione in classe del percorso CLIL
classe III A, a. s. 2010-2011
prof. ssa Emanuela PulvirentiLiceo Scientifico “R. P. Vassallo”, Riesi
Corso di Disegno e Storia dell’Arte
Lesson n.1 Leonardo da Vinci - drawing activity (first sketch, machines, architecture, anatomy, botanic, Vitruvian man)
Lesson n.2 Leonardo da Vinci - The Annunciation (linear and atmospheric perspective, scientific details, golden ratio)
Lesson n.3 Leonardo da Vinci - The Virgin of the rocks (two versions, composition, perspective, sfumato)
Lesson n.4 Leonardo da Vinci - The last supper (the told event, the composition, the perspective, the painting technique)
Lesson n.5 Leonardo da Vinci - Mona Lisa (portrait, landscape, perspective, sfumato, golden ratio, reinterpretations)
Lesson n.6 Michelangelo - sculpting philosophy (stone carving, Saint Peter Piety)
Lesson n.7 Michelangelo - David and Tondo Doni (proportion, use of colours, the outline, the serpentine line)
Lesson n.8 Michelangelo - The vault of Sistine Chapel (the told events, the composition, the serpentine line)
Lesson n.9 Michelangelo - The Capitolium (the project, the giant order, the composition, the perspective)
Lesson n.10 Michelangelo - Saint Peter Church (the central-plan, the apse, the dome)
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
GLOSSARY
ancient = ?
prisoner = ?
marble = ?
to carve = ?
to sculpt = ?
shadow = ?
fight = ?
knee = ?
shoulder = ?
lap = ?
sledgehammer = ?
eyelid = ?
to merge = ?
TRANSLATE IN ENGLISH
scultura = ?
scolpire = ?
statua = ?
marmo = ?
ombra = ?
ginocchio = ?
piramide = ?
spalla = ?
palpebra = ?
sopracciglio = ?
petto = ?
dolore = ?
striscia = ?
go to TEST n.1 go to TEST n.2
stiff = ?
to cradle = ?
stripe = ?
chest = ?
pain = ?
sin = ?
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
GLOSSARY
ancient = antico
prisoner = prigioniero
marble = marmo
to carve = scolpire
to sculpt = scolpire
shadow = ombra
fight = lotta
knee = ginocchio
shoulder = spalla
lap = ventre
sledgehammer = mazza
eyelid = palpebra
to merge = unire
TRANSLATE IN ENGLISH
scultura = sculpture
scolpire = to carve, to sculpt
statua = stuatue
marmo = marble
ombra = shadow
ginocchio = knee
piramide = pyramid
spalla = shoulder
palpebra = eyelid
sopracciglio = eyebrow
petto = chest
dolore = pain
striscia = stripe
stiff = rigido
to cradle = cullare
stripe = striscia
chest = petto
pain = dolore
sin = peccato
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
MICHELANGELO BUONARROTI (Caprese, Arezzo 1475 - Roma,1465)
Sculptor, painter, architect and poet Michelangelo was the greatest artist in a time of greatness. His birthplace, Capre-se, Italy, where Michelangelo was born on March, 6th, 1475, was a tiny village that belonged to the nearby city-state of Flo-rence. He went to school in Florence, but his mind was on art, not on his studies. When he was only thirteen he began to spend his time at the “Giardino di San Marco” a kind of museum-lab where Lorenzo il Magnifico held a lot of clas-sic works copied by the apprentices. Michelangelo, who was soon protected by Lorenzo, made copies of those ancient models but also sketches by Giotto and Masaccio.
link on Michelangelo’s biographyancient = antico lab = laboratorio
Sketch by Masaccio’s Tribute, 1488
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
Michelangelo always felt to be above all a sculptor, even when he painted or realized architectures.
Michelangelo’s poetic was born on the concept of the copy: when he sketches on the paper, the image he’s drawing already exists in the painting.
So when he carves the marble, he works as if the figu-re already exists inside the block. He used to say that his work was only removing the excess of material to let the “idea” free.
Like in neoplatonic philosophy, Michelangelo thought that the “idea” is prisoner of the matter and his at-tempt to make it free represents the fight between man and his destiny.
to carve = scolpire marble = marmo matter = materia fight = lotta Prisoner go to TEST n.3
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
In 1496, few years after Lorenzo’s death, Michelangelo went to Rome.
Here he knew better classic art and two years later he carved the Piety: a sculpture which represents the Virgin Mary while keeping on her knees the body of his dead son inside a pyramid composition.
knee = ginocchioPiety, 1498-99 , Saint Peter’s, Rome.
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
The sculpture is, nowadays, insi-de Saint Peter’s, Rome, just on the right of the main entrance.
It’s protected by a glass since 1972, when Laszlo Toth, an Au-stro-Hungarian crazy geologist, jumped over the balustrade of the Piety Chapel, brandishing a sledgehammer, shouting “I am Jesus!”.
His assault fractured the left arm of Mary, her nose, veil, and left eyelid, leaving the Madonna se-verely disfigured.
make a virtual tour of the Piety Chapelbalustrade = balaustra sledgehammer = mazza eyelid = palpebra
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
The theme of the Piety (the body of Jesus on the lap of his mother Mary after the Cruci-fixion) is of Northern origin, popular by that time in France but not yet in Italy. In the forei-gn tradition the two characters have a stiff position and aren’t really joined.
Michelangelo’s interpretation of the Piety is unique to the precedents: Mary and Jesus are merged together in a very natural way as if the mother is cradling her child.
lap = grembo stiff = rigido to merge = fondere to cradle = cullare
Giovanni Bellini, Piety, 1505
Perugino, Piety, 1483-1493
German Piety, XIV century Nordic Piety, 1420 Michelangelo, Piety, 1498
CAN YOU DESCRIBE THE DIFFERENCES?
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
In Michelangelo’s Piety the Virgin Mary has got the same dress of Leonardo’s.
In the stripe on the Virgin chest there is Michelangelo’s signature: “Michaelangelus Bo-narrotus Florentinus. Faciebat”. It’s the only work signed by the artist.
stripe = striscia chest = petto signature = firma
Leonardo, The Annunciation, 1475
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
There is a great idealization of the subject: no pain, no tragedy but a divine perfection. Christ has a beautiful body, Mary seems to be very young because she’s uncorrupted and without sin.
pain = dolore sin = peccato
Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti
The Age of Leonardo and Michelangelo
Michelangelo will carve other Pieties in his long career, very different from Saint Peter’s one: Palestrina Piety, sculpted in 1555 where the mother keeps the son from the backside, helped by Mary Magdalene; Bandini Piety, carved in 1557, where Nicodemus also appears (it’s a Michelangelo’s self-portrait); and Rondanini Piety sculpted since 1561 until the death of the artist whith only Mary and Jesus, a very impressive and unfinished work.
Palestrina Piety, 1555 Bandini Piety, 1557 Rondanini Piety, 1561-1465
CAN YOU DESCRIBE THE DIFFERENCES?
Saint Peter Piety, 1496